Rob Tate was born in Albuquerque, New Mexico. He graduated from Yale with a degree in music. While he never pursued music as a career, it plays an important role in his film and editorial work. On ARCHITECTURE SCHOOL [www.sundancechannel.com] Tate served in three key roles: senior producer, director of photography and lead editor.

As an editor for the last 12 years, Tate has edited multiple feature films and television shows. Tate co-wrote, directed and edited his own independent film, NEPTUNE’S ROCKING HORSE.

Tate is currently a Producer/Shooter/Editor on PBS’s award-winning magazine series, GOURMET’S DIARY OF A FOODIE, which received the “James Beard Award for Best National Television Food Series” for two years in a row, and earned him two Emmy nominations for Producing and Editing, and the New York Festivals International Broadcast TV World Medal for Best Editing in Documentary. He and Selditch have co-directed/produced the soon-to-be-released feature documentary, ELEVEN MINUTES, on fashion designer, Jay McCarroll.

1. What’s your favorite political movie?

Terry Gilliam’s, BRAZIL [www.imdb.com]. It’s about terrorism, and the enemy is us.

2. What role do you feel art plays in politics?

A VITAL role. I’d go so far to say that it is art’s job to be political - to tell us how things are and perhaps imply how things should be…

3. What do you think is the biggest issue for the next generation of Americans?

Bringing back a government that looks out for the people. Reinstating regulation that has the public interest in mind, and not just the bottom line of corporations.

4. Who was the first political candidate you were excited to vote for and why?

Clinton. He was the first one I was old enough to vote for.

5. What factors are important to you in choosing a president?

Intelligence. Issues. Eloquence.

6. What issues would you like to see politicians focus more on?

Reinstating the role of government as a protection for the public.

7. Which issues would you like to see politicians focus less on?

Morality.

8. Which candidate’s initiatives do you feel better address environmental concerns?

Not sure either addresses it that well. But Obama has talked about creating a new economy based on green technology. Kind of a Green New Deal.

9. This is your soapbox - shout it out! What do you need to get off your chest?

I don’t want to believe that so many voters in the USA are so gullible. I try so hard to see things from all sides, but I’m continually amazed that after 8 years, people are still considering seriously putting another Republican (and in Palin - a NEOCONSERVATIVE) in the White House.

10. Do you have any recommended links, books or movies so people can learn more about the issues you care about?

Books: What’s the Matter with Kansas? and The Shock Doctrine.

Movies: Brazil - It is quite shocking how much this film depicts what is currently going on. Nothing works as it was intended. People go about their consumerist daily lives while the world goes to hell in a hand basket. No one is free, and no one is accountable.

Extra Credit: Fill in the blank. _________ for change.

REVOLUTION for a change.

RT.

Documentary filmmaker Michael Selditch created and produced Sundance Channel’s ARCHITECTURE SCHOOL [www.sundancechannel.com], a 6-part series that follows Tulane Architecture students as they compete to have their designs chosen and built in Louisiana.

1. What’s your favorite political movie?

My favorite movie of all time is actually quite political at its core — Chinatown. Corruption, conspiracy and privatization fuel this complex story set in Los Angeles in the late 1930’s loosely based on a local water-rights scandal of the early 1900’s. The ecological rape of our land is nothing new to our current millennium. What was once thought of as a plentiful natural resource — water — has been abused for years in disgraceful land-development schemes concocted by the greedy exploitations of rich and powerful businessmen.

2. What role do you feel art plays in politics?

I wish more. Art is about free expression. And therefore, I wish politics played a lesser role in art. When thinking of the two together, I am reminded of the Supreme Court battle of the N.E.A. 4; or a pre-911 Mayor Giuliani who tried to censor the Brooklyn Art Museum’s “Sensation” exhibit and halt the museum’s public funding. If only the First Amendment were as holy to the conservative right as the Second Amendment; we’d live in a much more beautiful world.

3. What do you think is the biggest issue for the next generation of Americans?

Our planet. We can’t keep trashing our grandchildren’s home.

4. Who was the first political candidate you were excited to vote for and why?

Bill Clinton was the first politician that [for me] spoke from the heart.

5. What factors are important to you in choosing a president?

The candidate’s effectiveness in repairing our dismal economy and salvaging what little is left of our middle class.

6. What issues would you like to see politicians focus more on?

Unfortunately, both parties are guilty of succumbing to the perverse stronghold the special interest groups have on our government and our lawmakers. Nothing will ever get done for the people, as long as greedy corporations are pulling the strings of our puppet-politicians.

7. What issues would you like to see politicians focus less on?

Abortion. Guns. Gays.

8. Which candidate’s initiatives do you feel better address environmental concerns?

Certainly, Obama’s plans are overall more hopeful than McCain’s. But it is sad to see that even Obama supports domestic drilling. Even if the US could magically become 100% self-sufficient in the production of oil, it doesn’t take away the simple fact that gas-run cars pollute. Why do so many voters have such a hard time distinguishing between special interest actions and genuine solutions?

9. This is your soapbox - shout it out! What do you need to get off your chest?

Organized religion has hijacked American politics! And politicians have encouraged, and in most cases manipulated this unconscionable trend. The blatant disregard for the fundamental legal and political doctrine that is the separation of church and state is [for me] the source of much of the hatred and divisiveness found in this country today.

10. Do you have any recommended links, books or movies so people can learn more about the issues you care about?

Infidel, the courageous memoir by Ayaan Hirsi Ali, is a chilling account of growing up female in a Muslim family in Somalia. Regardless of whether one’s politics are left, right or center, Ali’s spirited story makes one feel incredibly lucky to be an American.

Extra Credit: Fill in the blank. _________ for change.

TRUTH for a change.

–MICHAEL SELDITCH

Flying above New Orleans, I’m only just beginning to understand how lucky I’ve been. Years ago, had you told me I’d be coming here to help produce a documentary series, I would have rolled my eyes and said “I wish.” In 2005, I would have imagined the city only through Katrina’s lens and its devastating images. Now I’m sitting on a plane, looking down at Lake Pontchartrain, with a whole new understanding of what New Orleans is all about.

It’s been an honor for our crew to work in this town, and a privilege for us to film with the URBANbuild faculty, students, and partners, all of whom welcomed us into their lives - and in many cases, their homes - in a collaborative effort to demystify what it means to be in Architecture School.

As for the new house, it’s an extraordinary piece of work. (And the color looks great.) We watched it from the ground up, and soon you can too. We hope you enjoy every step of the way.

Thanks for joining us. And get on down to the Big Easy when you can. Your beignet awaits.

Signing off.

“Everyone who loves New Orleans learns to love it with its flaws. It may be hard for people who have never been to the Crescent City to understand the passionate love people have for it, to understand why it’s worth fighting for - why it matters…”

- Tom Piazza from Why New Orleans Matters

The TCA (Television Critics Association) press tour at the Beverly Hilton, Beverly Hills, US of A took place a few weeks before “Architecture School” hit the airwaves. It was a classic LA industry event; chock full of agents, industry execs and talent… very organized and very cool. We unveiled “Architecture School”, our Sundance Channel series, to a roomful of critics/journalists. Come to think of it, the room might have been full because of the other new Sundance series, “Spectacle: Elvis Costello with…” onstage right after us, an hour of music/interviews hosted by Elvis Costello. We met Elvis in the green room before our presentation (thanks Lynne K.). He was nice and seemed to know his way ’round an architectural discussion; even referenced the Italian renaissance architect Brunelleschi once. The dude is smart… and cool.

Anyway I stray… The show looks great. Michael, Rob and the whole crew did a great job. It’s been at least 5 years since Michael and I began talking about somehow connecting our architect side with our filmmaker side… and it’s finally happened. Michael’s already mentioned how our big epiphany came while I was teaching at Auburn University and he came down to sit on a panel discussion with me (titled: The Architect in Hollywood). Thank you Sam Mockbee and your progeny. We pitched several architecture programs and ultimately choose Tulane. Not enough room in a brief blog to get into the personalities, politics and bureaucratic nuances of the American University system… Suffice to say the show ended up where it was supposed to be - New Orleans, Louisiana. (Aided in no small part by the patience and vision of the folks at Sundance.)

Being from New Orleans and having taught at Tulane it warms my heart to see Byron Mouton (an ex-student of mine) and his studio full of charismatic students design and build in 9 months (insert pregnancy analogy here) a NOLA inspired modern home in a still recovering uptown neighborhood. It’s a story of the fearless idealism we find in architecture schools meeting the cold, hard, sometimes scary reality of post Katrina New Orleans.

I love watching the scenes from the studio. Students second guessing themselves and Byron. The late night soul searching of the students wondering whether to act on their own embryonic design instinct or to “do what Byron wants”. The constructive (occasionally brutal) comments made by design professionals during “pin-ups”. Reed Kroloff, former-Dean of Tulane Architecture, one of the nicest guys you’ll ever meet, being the “bad cop” to Byron’s “good cop”. (Byron became both the good cop and bad cop once building started.) It’s all there. All the stuff that made us the good intentioned, underpaid lot we are… architects.

A half hour before Michael, Byron, Reed and I were scheduled to go onstage in front of the TCA, Byron and I were sitting in the lobby of the Beverly Hilton shooting the breeze. Spike Lee walked by with an entourage of scribbling/taping critics following in lock step. Beautiful people on cell phones wandering conspicuously through the hotel that Merv built… and there’s me and Byron. When out of the blue, a young man walks up to Byron, calls him by his full name, then extends his hand to shake. Byron always the ready professional stood up and shook Aaron Barnhart’s hand, the television critic for the Kansas City Star. Aaron proceeded to sit down and tell us in 5 minutes exactly what our show was about. It made my day… Well, actually meeting Elvis Costello made my day but Aaron’s concise and precise observations about “Architecture School” were a close second…

And my point? …I’ve lived in Los Angeles and the So-Cal area for over twenty years and not one time have I ever been recognized “on the street” for any work I’ve done in the industry. My good friend, Byron Mouton is here for two days and he’s picked out of a lobby full of television heavy hitters… by name. Hey, what about my needs? …Move over Howard Roark and Mike Brady. Apparently, there’s a new kid in town.

Stan Bertheaud
Co-Creator/Consulting Producer

While the students have remained loyal to their labor of love despite the violence, a prospective homebuyer who fell head over heels for the second URBANbuild house now has misgivings.

Discrepancies are emerging between those who can afford the URBANbuild homes, those who can appreciate their architectural design, and those who are willing to live in this still-tenuous area. When will the right match come along? It’s like dating in New York. It requires a tremendous amount of faith and patience. And as much as we’d like to follow this story until a happy owner walks through the front door, our production schedule and our budget have limits.

This is one of the many challenging things about making documentary television. You can’t control the storyline, or wait around until the ending you want comes along. Ask Jamie, our Line Producer, who deals with our frantic phone calls all day. “Please, please get me back on Scripted,” she prays to the Gods of TV. On ARCHITECTURE SCHOOL, there are no scripts, and in our case, no formula either. We run around with a camera, capturing moments as they unfold. Back in the edit room, we’ll craft a unique style and we’ll tell a good story, but we can’t make fairy tales come true. And we can’t will events into happening. Like Michael always says, Tulane was going to build that house whether we filmed it or not. And someone will buy those houses when they’re ready to. Not when we are. Maybe we should add another credit to our roll. Creative Consultant: FATE. I mean, if you believe in that sort of thing.

Rachel Clift
Producer

“It’s not a reality show–it’s a documentary series,” I’ve heard myself say on countless occasions. Press, students, faculty, crew, have all at some point uttered the baggage-laden phrase “reality show,” and I am always compelled to clarify. “What’s the difference?” asked a journalist, who rolled her eyes when I made the distinction. “Style and purpose…” I went on to explain. With a reality show — whether it’s competition-based like The Apprentice, or shared-quarters like Real World, or make-over like Queer Eye — they are all manufactured for camera. And I don’t mean that in a bad way. The rules and circumstances of manipulation are acknowledged and embraced by the producers. No one claims that the events in these shows would actually happen in real life without the show’s existence. In the case of Architecture School, the students at Tulane University are designing and building a house whether I’ve got a film crew there or not. We are documenting events that are already taking place, in spite of the presence of cameras and the subsequent television series.

I’m not knocking reality shows. I have worked on my fair share. As a producer or director, the process between reality and documentary is very different. Rob Tate [our senior producer] and I have collaborated on docs prior to this experience. We are both drawn to a verite style where the story is told mostly through character interaction and scenes, rather than relying on the “lit” interview or the crutch of narration. We enjoy telling stories by weaving in and out of scenes (non-linear) and sprinkled with informal OTFs (on-the-fly thoughts of the character). We like to shoot in a narrative or cinematic style with extreme close ups, over-the-shoulders and lots of foreground. But even once you feel like you’ve honed in on a “style” you are faced with the bigger challenge: How to tell this story?

Production is a sequence of decision-making. As with architecture, time, money and logistics all factor into every choice; and the documentary genre must be considered as well. Documentary (shooting actual events) versus Reality (manufactured and controlled) greatly affects production with regards to time. With Architecture School, we are covering a story that spans 9 months (an entire academic school year). Since it would be virtually impossible to cover that on-camera 24/7, we are forced to make choices about what, when and where to shoot.

Even with this kind of prioritizing, we anticipated as much as 500 hours of raw footage. Rob and I decided early on, to shoot single camera to avoid making it 1,000. Shooting a scene that has 10 characters in it with one camera requires careful listening and a commitment on the cameraman’s part to stay with the action at hand as it plays out. Even with careful logging and organization, we certainly had our jobs cut out for us in the edit room, and like building a building; we were faced with one big challenge after another.

Michael Selditch
Executive Producer/Director

Happy New Year! 2008 brings your dedicated Crew back to the streets of “NOLA” for ARCHITECTURE SCHOOL, Spring Semester: THE BUILD! I don’t know about y’all, but we’re ready to put on some serious hard hats.

While purple-clad, victorious, and hungover LSU (Louisiana State University) football fans stumbled home Monday morning after a winning championship game, Tulane URBANbuild students were already hard at work on the corner of Seventh and Dryades. And as usual, we were there, filming it all.

Build Day #1, which apparently involves a significant amount of orange spray paint. They use it to mark foundation and elevation measurements - now based, not surprisingly, on new post-Katrina city regulations.

The Crew is staging in an empty NHS house up for sale, a block away from the site. We’re all on walkie-talkies, so we’re in constant communication. But walkies don’t alleviate having to run up and down the block to deliver fresh P2 cards and batteries, ask on-camera people to sign releases, or watch scenes to log notes. We assigned the crew and the students each a secret walkie code name. I said “secret” - so don’t ask…

It was a fun day, as per Casey who said, without a hint of sarcasm: “It’s better than Disneyworld.” We’ll see how long that lasts. First up - organize the toolbox!

Rachel Clift
Producer

As recently as THE GREEN [www.sundancechannel.com] and THE GOOD FIGHT [www.sundancechannel.com], Sundance Channel has covered environmental architecture in its myriad forms and projects. This important topic deserves a lot more attention. For that reason, Sundance Channel created a new original series called ARCHITECTURE SCHOOL [www.sundancechannel.com].

What better way to introduce you to the series than by showing you this clip from the first episode?

In this series, you follow the exploits of talented architectural students as they design and construct their first real buildings. This show lets experts and newcomers delve deep into the process of making a new building from scratch. We hope you enjoy.

Check out this webisode video clip from ARCHITECTURE SCHOOL

Because we care about feeding your curiosity for more architectural appreciation, and since Sundance Channel is dedicated to an environmentally aware world, we have created a special Eco-mmunity tour of sustainable architecture firms and their environmentally friendly buildings [www.sundancechannel.com]. You will be able to browse through a specially curated list that caters to the theme of environmental architecture. Delight in seeing the geographic locations of all these healthy and resource efficient homes and the firms who build them. Absorb details about these innovative and often beautiful architectural projects on Eco-mmunity Map.

“Katrina taught us much about ourselves here in southeast Louisiana. It taught the rest of America a bit about Louisiana.”
- Jed Horne, Breach of Faith: Hurricane Katrina and the Near Death of a Great American City

I don’t mean to be a downer. As you know by now, this isn’t a show about Katrina. What’s more, URBANbuild was created as a response to the housing devastation that existed well before any of us knew who she was.

But ARCHITECTURE SCHOOL is, among other things, a show about New Orleans, and you can’t talk about New Orleans anymore without talking about Katrina in some way, because now it’s an integral part of the city’s collective identity.

And so it happened that we spent a muggy afternoon filming in the Ninth Ward [www.gnocdc.org], a section of the city that was thrust into the international spotlight on August 29, 2005 when, because of its proximity to a broken levee system, it flooded beyond repair. Unforgettable images of its drowned homes splashed across TV screens around the world, so that now people from Kansas to Kathmandu know it by name.

Needless to say, we couldn’t help but feel a voyeur’s sense of nervous anticipation when we went with some students to film 2005’s most talked-about location.

What we found was nothing more than a memory. Receding, distant, grey, empty. Broken. Even the wreckage I’d heard about from friends who visited a year ago was gone. What remained was an overgrowth of weeds, some taller than we were, swishing loudly in the hot wind. They grew up through every crack in the concrete, and in front yards where crumpled remains of houses stood on their last leg, and for long stretches of empty land, where once there stood an entire row of lively homes. Now just weeds. And mosquitoes, as thick as gnats.

When we interviewed Casey about her childhood house in California, we could feel memories from these ghost houses hovering around us while we filmed (under rubble and behind shredded facades, I swear, they were everywhere).

Afterwards, the crew stood on one of the many leftover concrete foundations, often the only discomfiting sign that anyone had ever lived there. Like the entire Ninth Ward itself, it was like walking on an outline of what used to be. Michael showed me how one could imagine an entire floor plan for a house that once stood exactly where we did, simply by following the lines on the concrete, and by paying attention to loose material in the ground. I mean, right down to the bedroom closet and the toilet! It was surreal.

As we drove away, we saw two guys rebuilding a house from scratch. The only people around for what seemed like miles, they whistled and hummed to each other while they hammered nails into fresh wood - like it was just another day in the neighborhood.

And for them, it probably was.

Rachel Clift
Producer